When it comes to the subject of “body” hair on the Patterson film subject, many people assume that there is a uniform coverage of hair. Actually the hair and the skin are two different tones or color “temperatures”. This provides the analyst with the opportunity to use the colors to determine the level of hair coverage across the image. The colors of the skin and hair can be “driven” apart through the interaction colors that are introduced to the image. Blue and yellow make green, but blue and red make maroon, so…an image that has yellow and red in it, when blue is introduced, would produce a two colored image that is green and red, with the green and red being easily divergent. Now in the animated sequence here, the image is first introduced with red, and then green. This “drives” apart the tones of the skin and hair and it becomes clear the level of hair coverage over the skin. Click on the image to animate.
Here’s a clip from the film that has been filtered to sharpen the image and boost contrast. It is displayed in black and white. The level of hair coverage becomes more obvious. Click on the image to animate.
Here’s a very high quality still that was taken from the original Patterson film. It was generously provided by Patricia Patterson, the widow of Roger Patterson. The hair and skin tones are driven apart here in this false color image. It’s easy to see the skin beneath the hair in this image. Click on the image to enlarge.
Here’s an enlargement of the right leg. The hair coverage is much more sparse and less encompassing than many have believed over the years.The knee cap or patella can be seen here as well as many other anatomical features. What do you see?
Here’s the right arm…done the same way.
Here’s an oscillating clip that shows the interplay of light upon the film subject’s body. The skin can be seen beneath the hair. Click on the image to animate.
Here’s the armswing animation in full color and enlarged. Hairy but not furry. Click on the image to animate.